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Journal articles on the topic 'Nigerian Painting'
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Abodunrin, Johnson Adelani. "Audience Perception of Effective Communication in Nigerian Paintings." Harmonia: Journal of Arts Research and Education 16, no. 2 (January 29, 2017): 103. http://dx.doi.org/10.15294/harmonia.v16i2.7824.
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<p>Artists in Nigeria perceived effective communication differently irrespective of the socio-economic status.Communication effectiveness depends largely on the understanding of the message being passed between a sender and a receiver. Painting has been used over time to express emotion and feeling to the perceiving audience. The study is audience’s perception of communication in Nigeria painting and how it varies with the socio-economic characteristics such as age, education, gender, and being professional artist or art lovers. Questionnaires were distributed and administered to examine how the status of the art audience makes or mars effective communication in painting. The inferential statistics that were employed include “chi-square test” to test the relationship between different variables. The data were taken in ordinal form using Likert’s scale, and transformed into interval data. This was done by attaching statistical weights to the responses in the order of importance which were summed up for the parametric testing. Findings show that gender factor has nothing to do with the understanding of paintings. Also, the level of education obtained by the audience does not have much to do with understanding of contemporary Nigerian painting but a better exposure to the issue concerning the stylistic development of Nigerian painting. Art practitioners must adequately be guided on stylistic trend in painting, art education should be more intensified in educational curriculum in Nigeria. The paper concludes that audience requires a better exposure to the issues concerning the stylistic development of Nigerian painting for effective communication to take place.</p>
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Fajuyigbe, Michael Olusegun. "Contemporary Painting as Reflector of Yoruba Cultural Values." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–28. http://dx.doi.org/10.32473/ysr.7.2.132806.
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Every art form reflects the values of the cultural background that produces it, and visual culture in its present state is based on art and values from the past. This paper, therefore, examines the re-invention of culture and distinctive cultural ideals in contemporary Nigerian art. Specifically, it pinpoints contemporary Yorùbá paintings as visual markers of the Yorùbá value system. The study traces the origin of painting in Africa, from its earliest forms in African caves, shrines, and palaces, through the colonial and postcolonial eras to the present. Based on their contexts, eight (8) paintings that portray specific values of the Yorùbá and are ingrained with symbolic motifs, patterns and imageries are selected. Formal and contextual methods in art history are employed in the analysis of the data. The selected paintings serve as a visual document of the Yorùbá belief system; while contemporary Yorùbá artists are shown to consistently draw from their culture and design resources to establish a connection between the past and the present. The paper concludes that contemporary Nigerian art, generally, reveals new perspectives and meanings regarding art, culture, and identity in a fast-changing, multi-ethnic society like Nigeria
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Zelt, Natalie. "Picturing an Impossible American: Njideka Akunyili Crosby and Photographic Transfers in Portals (2016)." Open Cultural Studies 2, no. 1 (September 1, 2018): 212–24. http://dx.doi.org/10.1515/culture-2018-0020.
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Abstract This article considers artist Njideka Akunyili Crosby’s use of photographic transfers and popular culture in her 2016 painting “Portals” to craft an artwork specific to her experience across multiple points of social identification in the United States and Nigeria. Through close reading and the study of Crosby’s formal and conceptual strategies, Zelt investigates how varying degrees of recognition work through photographic references. “Portals” contests assimilationist definitions of American identity in favor of a representation which is multiplicitous, operating across geographies. By juxtaposing images from different times, in different directions, Crosby constructs “contact zones” and provokes a mode of looking that reflects a feeling dislocation from the country in which she stands, the United States, and the country with which she also identifies, Nigeria. After a brief introduction to the artist and her relationship to Nigerian national politics, the article explores how distance and recognition work through image references to express a particular form of transnational identity, followed by an examination of uses of popular culture references to engage with blackness and an interdependent “Nigerian-ness” and “American-ness.” It concludes by contextualizing the painting’s display amid waves of amplified nativist purity in the US.
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Abodunrin, Johnson Adelani. "Indigenous forms and materials in Nigerian painting." Journal of Art and Architecture Studies 8, no. 1 (June 15, 2019): 07–12. http://dx.doi.org/10.51148/jaas.2019.2.
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Abodunrin, Johnson Adelani. "Artistic forms and ethnic identity in Nigerian painting." Journal of Art and Architecture Studies 10, no. 1 (June 15, 2021): 01–05. http://dx.doi.org/10.51148/jaas.2021.1.
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ODOH, GEORGE. "Transacting the Modern in the Works of Segun Aiyesan, a Self-Taught Nigerian Artist." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 03 (March 25, 2023): 12–28. http://dx.doi.org/10.55559/sjahss.v2i03.92.
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Despite the embodied presence of self-taught art in Nigeria’s contemporary art space, the contributions made by self-taught artists in advancing the modernist landscape of contemporary art in Nigeria have remained largely understudied. Employing historiography and stylistic analyses, this article examines the modernist affirmations in the art of Segun Aiyesan, a self-taught Nigerian artist. It traces his artistic development as well as the various factors that influenced and shaped the modernist sensibilities evident in his art. Situating the discourse within the idiosyncrasies of Nigerian and Western art traditions, the study highlights how Aiyesan’s eclectic and experimental approach to art, in conjunction with the his effectual application of artistic talent and imagination, enabled him transact his own brand of modernism, and how its stylistic and aesthetic registers offer a deeper understanding ot the multifarious landscape of modern Nigerian art. Key attributes that frame Aiyesan’s art practice include the use of unconventional painting formats, multiple engagements of a particular subject matter using diverse compositional frameworks, and the continuous re-appraisal and re-invention of formal language. Thus, his art is very dynamic, expressive and constantly evolving.
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Awuzie, Solomon. "Grief, resurrection, and the Nigerian Civil War in Isidore Diala’s The Lure of Ash." Tydskrif vir Letterkunde 58, no. 2 (June 21, 2021): 1–7. http://dx.doi.org/10.17159/tl.v58i2.6793.
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As part of the third generation of Nigerian poetry, Isidore Diala’s The Lure of Ash focuses on the Nigerian Civil War experience of 1967–1970, the grief associated with it, and the resurrection of the Biafran agitation. Being a collection that is derived from the rural world of the Igbo cosmology, Diala’s The Lure of Ash portrays the Nigerian Civil War in a sensuous and emotive tone. It accounts for the poet’s belief in the regeneration of the lives of the dead Biafran soldiers. The symbols of fire and ash are significant for interpreting the poet-speaker’s grief in the collection. The collection also succeeds in painting a picture of the Nigerian Civil War experience where the bitter memory of the war resonates, while representing poetry as the healer of the pain and wounds of the war.
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Oji, Ruth Karachi Benson. "Painting the state in the text." Pragmatics and Society 12, no. 4 (October 29, 2021): 649–68. http://dx.doi.org/10.1075/ps.20007.oji.
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Abstract Literary works across cultures are never written in a vacuum. They depict the reality of the society where they are set. With the societal obligation of the writers to serve as righters, especially in Africa, this study attempts a pragmatic inquiry of the state of the Nigerian society as implicitly and artistically painted in Remi Raji’s poetry collection, A Harvest of Laughters. The known literature on Remi Raji’s A Harvest of Laughters have analysed the collection mainly from literary and ideological perspectives. Attention has not been given to the collection from a pragmatic perspective, hence the intervention of this study. Drawing insights from Jacob Mey’s Pragmatic Acts Theory, the study analyses the pragmatic imports in the collection with fourteen (14) randomly selected excerpts across different segments of the collection constituting the data. Data was purposively selected from different poems in the collection. The findings show that the two major discursive issues in the text are the depiction of the government as cruel and the portrayal of the citizenry as victims. The former was conveyed through the practs of oppressing, embezzling and deceiving, while the latter was revealed through the practs of suffering and hoping. The study concludes that pragmatics is a valuable tool in the demystification of texts.
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Kasali, A. A., K. O. Jimoh, M. A. Adeagbo, and S. A. Bello. "Web-based text editing system for Nigerian major languages." Nigerian Journal of Technology 40, no. 2 (October 18, 2021): 292–301. http://dx.doi.org/10.4314/njt.v40i2.15.
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This study developed a web-based text editor to eliminate the incompatibility of computer keyboard with the three major indigenous languages in Nigeria. It also aims to reduce the time taken to produce characters with diacritical marks. The editors produced valid Unicode characters and require pressing less buttons to generating all the symbols of the alphabets for the three major indigenous languages in Nigeria. Client-side technologies were used to develop these applications. Three web pages, designated for Yorùbá, Igbo and Hausa language were generated with HTML. CSS was used to define the look and feel of the HTML elements on each page. Regular Expressions implemented in JavaScript functions were used to convert selected ASCII characters into desired Unicode characters. The editors are available at http://www.gazaliwakil.com.ng. The editors work well on latest version of browsers like (Google Chrome, Mozilla Firefox, Opera, and Internet Explorer). They are very light, consume minimal server resources and can work offline. The system was launched Fifty-one (51) times to extract data comprising the Loading, Scripting, Rendering, Painting, System, and Idle time. The obtained result showed that on the average, it takes about 13.77ms to load the HTML DOM elements, 42.83ms to load the javaScript, 13.10ms and 1.73ms for rendering and painting the page by CSS. Additional time taken are 43.91ms and 3,045.10ms for the system and idle time respectively. A total time of 3,160.43ms (3.16s) is required when any of the editors is launched before the page can accept inputs from the users. It also takes the editors 2.66ms to add diacritical marks on a letter. This would, in effect, not reduce the typing speed of users.
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Okpalanozie, Ogechukwu E., Sunday A. Adebusoye, Federica Troiano, Andrea Polo, Francesca Cappitelli, and Matthew O. Ilori. "Evaluating the microbiological risk to a contemporary Nigerian painting: Molecular and biodegradative studies." International Biodeterioration & Biodegradation 114 (October 2016): 184–92. http://dx.doi.org/10.1016/j.ibiod.2016.06.017.
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Shuaibu, Mohammed Lawal. "British Colonial Marine Transport Services in the Niger-Benue Confluence Area of Nigeria, 1914–1918." ABUAD Journal of Social and Management Sciences 3, no. 1 (December 15, 2022): 1–11. http://dx.doi.org/10.53982/ajsms.2022.0301.01-j.
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This paper focuses on the British marine transport services in the Niger-Benue confluence area of Nigeria during the First World War. It posits that the flow of the Benue River through the Northern Nigeria/Cameroon border was a major way through which the British war resources were conveyed from the Niger-Benue confluence area to the battlefronts against the German Cameroon. The paper claims that the British authorities used lies as strategy by painting the Germans as land grabbers to get the locals’ commitment and support during the war at the expense of marine transport services. It reveals that the colonial authorities’ deployment of marine personnel and facilities in the prosecution of the war almost paralysed marine transport services in the area and beyond. The Marine Department (MD), the colonial authority that provided marine services on the waterways, lost 40 British marine officers, 4000 Nigerian personnel and had 12 of its vessels destroyed in the war. The deployment, as discovered, made the MD to neglect its primary responsibilities of maintaining and providing marine transport services in the Niger-Benue confluence area in particular, and Nigeria in general. The development affected nearly every other part of colonial Nigeria economically as the utilisation of Niger-Benue Rivers (which formed the major navigable trading routes) for the war created shortages of imports and scarcity of shipping resources. A wide range of sources from primary to textual analyses in extant literature are used to explain how marine transport in the confluence area fared during the First World War.
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Nasidi, Nadir A. "Some Biographical Notes on Artists of Sacred Sufi Painting in Kano, Nigeria." Journal of West African History 9, no. 2 (September 1, 2023): 1–20. http://dx.doi.org/10.14321/jwestafrihist.9.2.0001.
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Abstract The Sufi Islamic leader, Sheikh Ibrahim Niass first came to Kano in 1937. His repeated visits paved the way for the development of Sufi artists in Kano. Through their representational art, they celebrate the various Sufi saints, particularly those of the Qādiriyyah and Tijjāniyyah Sufi orders. This article puts the growth of Sufi representational art in the context of the history of Tijjāniyyah Islam in Kano by examining the biographies and works of six Kano artists and their sacred Sufi painting, from the 1980s to the present day. This article concludes that paintings of Sufi saints by these artists, which countered alternative aniconic views associated with some branches of Islam, contributed not only to the development of representational paintings in Kano, but also to the acceptance of Western media, styles, and techniques in their visual representations of such paintings.
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Odewumi, Michael Olubunmi. "HYPOTHETICAL APPROACHES TO SCAFFOLDING FOR LEARNING OF STUDIO PAINTINGS." IJIET (International Journal of Indonesian Education and Teaching) 4, no. 1 (February 3, 2020): 45–55. http://dx.doi.org/10.24071/ijiet.v4i1.2220.
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Painting is a branch of visual arts discipline in Nigeria education and often traced to Paleolithic age. The study was inspired by the dismal attitude of undergraduate towards painting and painting media this makes it very important for painting instructors to vary both media and method in painting. Therefore, Scaffolding serves as a panacea in filling the existing gap. Quasi-experimental design was used in the study. 60 undergraduate fine arts students of 200 levels of 29 male and 31 female were taken from a Nigeria university. The study presented two research questions and formulated two null hypotheses at 0.05 level of significance. Scaffolding Painting Achievement Test (SPAT) was of 50 items objectives question extract from validated JAMB visual arts examination was the test items. The Data collected were analyzed with ANCOVA and t-test. Study disclosed that undergraduate students taught painting via Scaffolding performed better and no significant difference was recorded between the mean of both female and male arts learners exposed to Scaffolding. It was recommended that Scaffolding should be used for teaching of painting in Nigeria university.. DOI: 10.24071/ijiet.2020.040104
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Nasidi, Nadir A. "Art-Historical Analysis of Selected Sacred Sufi Paintings in Kano, Nigeria." Al Qalam 40, no. 2 (December 13, 2023): 113–29. http://dx.doi.org/10.32678/alqalam.v40i2.8171.
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‘Iconoclasm’, which may simply be defined as the destruction of artworks as a result of hatred towards them is a common phenomenon in all the three major Abrahamic desert religions; Judaism, Christianity and Islam. Because Islam frowns at representational art, especially sculptures in the round, many Muslim artists pursue and develop their creativity in the elegant Arabic calligraphic embellishments used to adorn the walls of mosques, palaces and the covers of Islamic books. However, despite the growing nature of iconoclasm amongst mainstream Muslims, the Sufis see no harm in visually and artistically representing their saints and hermits as a way to honour them and seek their barakah (blessings). It is on this basis that this paper examines selected sacred Sufi paintings of Kano, Nigeria. Relying heavily on oral interviews and written sources this paper traces the historical development of sacred Sufi paintings in Kano, Nigeria, focusing largely on the art historical appreciation and contextualization of such paintings. The paper also found out that despite the importance of sacred Sufi paintings in the reconstruction of history, they receive little or no scholarly attention.
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Olayemi T, Ajayi, and Adeleye Adekunle J. "Harnessing Fine Art as a Viable Mechanism for Economic and Health Enhancements in Nigeria." International Journal of Arts and Humanities 1, no. 1 (August 10, 2023): 10–17. http://dx.doi.org/10.61424/ijah.v1i1.6.
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The built environment is tamed with varying health and economic challenges that, if left unattended, could endanger lives and properties dwelling within it. However, the said challenges are all inevitable as a result of the ever-increasing global population and the dissimilar challenges that come with it. Consequently, there is a need to unearth more alternatives through which the wellness of lives in the built environment and the economy they depend on can be improved in order to inhibit the fast-rising deplorable health conditions that are threatening the built environment. Fine art in all its entirety goes beyond artworks being crafted primarily for visual appeal or creative expression; fine art, especially drawing and painting, is imbued with economic and health-enhancing feats. This study uncovers, through the use of interviews and the authors’ experiences and observations, how fine art facets (portrait drawing) and painting can positively improve a man’s psychological and mental wellness. The few selected interview respondents shared their various experiences culled from their individual interactions with the work of art. The paper recommended, among others, that portrait drawing and painting should be further patronized, practiced, and embraced as they have a way of enhancing psychological and mental wellness in the built environment with economic advantages. The study concludes that drawing fosters interpersonal relationships as well as cultural exchange. It recommends that drawing and painting be encouraged at early stages of education and adopted as part of the vocational skills for enhancing entrepreneurship studies.
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Amaefule, Adolphus Ekedimma. "The Prophetic Role of the Church and Postcolonial Portrait of Nigeria in Chimamanda Ngozi Adichie’s Purple Hibiscus." International Journal of Public Theology 15, no. 1 (April 20, 2021): 84–100. http://dx.doi.org/10.1163/15697320-12341643.
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Abstract This article brings together Christian theology, creative literature and history in the current spirit of interdisciplinary scholarship. It endeavours to unveil, in the first place, the image painted of Nigeria as a post-colonial entity in the novel, Purple Hibiscus, by the award-winning writer, Chimamanda Ngozi Adichie. Through the events, characters and realities employed by her in painting the above-mentioned image of Nigeria, it is evident that the historical period captured is most likely located in the military regimes of Ibrahim Babangida (1985–93) and Sani Abacha (1993–98). The article then considers the role that the Catholic Church in Nigeria, especially its hierarchy, played during the period and what that performance of such has to say to the same church leaders in Nigeria, today. These reflections stand inside the emerging tradition of a public theology in Nigeria.
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Ogunleye, Foluke. "Television Docudrama as Alternative Records of History." History in Africa 32 (2005): 479–84. http://dx.doi.org/10.1353/hia.2005.0019.
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From time immemorial human beings have sought to document their activities in realistic forms in order to pass across information about their lives to posterity. Even before the advent of cinematography, human beings had attempted to show life, not as static, but as dynamic. Cave paintings done by early men have shown an attempt to demonstrate movement through drawings of animals with many legs, designed to simulate motion. Also, attempts at showing moving images have included the shadow plays of North Africa and India, puppetry in many parts of the world, the pot art of India, etc. These activities presented the culture of the people and showed how icons are developed, what they stand for in the people's lives, and how people made meaning out of their lives and activities. With the development of the arts of cinematography and television, these also became vehicles to document happenings and events in the lives of the people.In this study, I discuss the television docudrama as an alternative means of documenting history. There are many reasons necessitating an alternative source of documenting history, but two examples from Nigeria will suffice to justify this position. The powers-that-be in Nigeria have decreed that it is no longer necessary to study history in primary and secondary schools, and the subject has been removed from the curriculum. Consequently, if a Nigerian citizen does not go to a tertiary institution to study history, the past of her/his people will forever remain a mystery to her/him. Currently, there is a very lively debate in Nigeria about the origins of the Yoruba people. Traditional rulers, who are supposed to be the custodians of history, are at loggerheads with each other and with eggheads in history departments. The traditional rulers are bringing out diverse facts and evidence that differ from previously written histories.
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Ojo, Temitope Olumuyiwa, Adedeji A. Onayade, Patrick Ayodeji Akinyemi, and Adewole J. Adesanmi. "Environmental Working Conditions, Lung Function and Total Serum Bile Acids of Spray Painters Exposed to Organic Solvents in Ile-Ife, Nigeria." Journal of Health and Pollution 7, no. 13 (March 1, 2017): 2–10. http://dx.doi.org/10.5696/2156-9614-7-13.2.
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Background. Nigeria has a growing spray painting industry, however, the burden of occupational health problems related to organic solvent exposure among spray painters in Nigeria is under-studied. Objectives. This study aimed to assess workshop characteristics and ambient concentration of total volatile organic compounds (VOCs) in spray painting workshops and to compare lung function status and total serum bile acid levels of spray painters and controls. Methods. A cross-sectional study design was employed to survey 120 spray painters and 120 controls (electronic technicians). A semi-structured questionnaire was used to obtain data on socio-demographics characteristics of the respondents. Weight, height and lung function of respondents were measured. In addition, a checklist was used to survey the spray painting workshops. Total VOC levels were determined in 37 spray painting and 31 electronic workshops. Data were analyzed using Statistical Program for the Social Sciences (SPSS) version 20 and a p-value of <0.05 was considered to be statistically significant. Results. Windows were present in only 5 (13.5%) spray painting workshops and 23 (62%) workshops had a retractable tarpaulin at the entrance. Only 9 (24%) workshops had changing rooms, while fire extinguishers and first aid kits were not present in any of the surveyed workshops. A respirator with filter was sighted in only 1 (3%) workshop. The 8-hour time weighted average concentration of total VOCs in spray painting workshops was 13.4 ppm, which is above the national permissible exposure limits of 1.9 ppm. Forced vital capacity (FVC) percent predicted was significantly lower in spray painters (93.9 ±10.8%) than controls (96.7± 8.2%) (t = −2.326, df=238 p< 0.001). In addition, forced expiratory volume in the first second (FEV1) percent predicted was lower in spray painters (94.6±12.2%) than controls (100.3±9.1%) (t=−4.058, df=238, p=0.002). FEV1/FVC% was significantly lower among spray painters (85.48±8.70%) compared with controls (87.88±6.22%) (t=−2.861 df=238, p= 0.005). Total serum bile acids was significantly elevated in painters (8.71±3.39 mmol/l) compared to controls (4.67 ±2.15 mmol/l) (t=10.358, df=213, p<0.05). Conclusions. Spray painters in the present study conduct their activities in hazardous work settings. More needs to be done concerning workplace regulation and enforcements to ensure that spray painters comply with minimum standards of occupational safety, workplace hygiene and sanitation. Patient Consent. Obtained Ethics Approval. Ethical approval was granted by the Health Research and Ethics Committee of the Institute of Public Health, Obafemi Awolowo University. Competing Interests. The authors declare no competing financial interests.
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Johnson Adelani, Abodunrin. "An Examination of Non-Conventional Materials in Post-modern Nigerian Paintings." Polish Journal of the Arts and Culture New Series, no. 13 (1/2021) (2021): 201–12. http://dx.doi.org/10.4467/24506249pj.21.010.13737.
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Udegbe, Mike I. "Labour Output on Painting Activity in the Construction Industry in Edo State, Nigeria." Journal of Social Sciences 14, no. 2 (March 2007): 182–84. http://dx.doi.org/10.1080/09718923.2007.11978371.
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Okoye, Peter Uchenna. "Occupational Health and Safety Risk Levels of Building Construction Trades in Nigeria." Construction Economics and Building 18, no. 2 (June 27, 2018): 92–109. http://dx.doi.org/10.5130/ajceb.v18i2.5882.
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This study assessed the occupational health and safety risk-level of common building construction trades in Nigeria. It also identified the sources, frequency and magnitude of risks inherent in the activities of various building construction trades. Being site-based survey research, it made use of a structured questionnaire administered to the selected building construction workers of different trades in Anambra State, Nigeria. The collected data were subjected to quantitative risk analysis using mean value method and risk prioritisation number. The study found that masonry, carpentry (including formwork and roofing), and iron bending and steel fixing are common building trades associated with high risks; whereas electrical fitting and installation, painting, tiling, and plumbing are medium risk building trades. It also found that the rate of occurrence and magnitude of impact of different safety risk factors differ across the building trades, which could be attributed to the differences in activities and modes of operation in different building trades. On this premise, the study suggested a multi-risk management and control approach for construction managers on building construction sites since the frequency of risk occurrence and the magnitude of risk severity differ across trades. It further called for institutional and legislative re-strengthening of extant labour laws in Nigeria.
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Ubogu, Nics O. "Oil: Visual Metaphors in Paintings of the Niger Delta Region of Nigeria." African Research Review 13, no. 1 (February 28, 2019): 163. http://dx.doi.org/10.4314/afrrev.v13i1.14.
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Iwegbue, Chukwujindu M. A., Nnamdi Nwose, Francis E. Egobueze, Eze W. Odali, Godswill O. Tesi, Godwin E. Nwajei, and Bice S. Martincigh. "Risk assessment of human exposure to potentially toxic metals in indoor dust from some small and medium scale enterprise workplace environments in southern Nigeria." Indoor and Built Environment 29, no. 8 (September 25, 2019): 1137–54. http://dx.doi.org/10.1177/1420326x19876007.
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This study concerns an assessment of indoor dust from printing press, car spray painting and metal design workshops, with the aim of evaluating the occupational risk arising from exposure to metals present in the dust. The levels of Cd, Pb, Cr, Ni, Cu, Co, Mn, Zn and Fe in the dust samples were quantified by means of atomic absorption spectrometry. The concentrations of metals (mg kg−1) in the indoor dust from these workplace environments varied from <0.003–208 for Cd, 26.5–1530 for Pb, 7.80–346 for Cr, 10.5–490 for Ni, 32.0–1915 for Cu, 3.50–232 for Co, 169–20,300 for Zn, 87.5–7260 for Mn and 8900–661,000 for Fe. The hazard index values were above one for different age groups except for the exposure of teenagers and adults to metals in dusts in the printing press studios and car spray painting workshops. The carcinogenic risk for all age groups relating to human contact with metals (Cd, Pb, Cr and Ni) in dust from these workplace environments via three exposure pathways: oral ingestion, inhalation and dermal contact, were above the safe level of 1.0 × 10−6 but not up to the level (1.0 × 10−4) that requires remedial action.
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Bardi, Augustine Okola. "4. Kazeem Olojo: A Professional Painter and an Art Instructor Universal Studios of Art, Lagos, Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 262–70. http://dx.doi.org/10.1515/rae-2017-0032.
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Abstract The works of art are priceless going by the quality of works exhibited by an artist. The artist tends to describe a particular scene near to the natural object in question. In the 15th and 16th centuries , France relayed on the impressionists who graduated from workshops and schools of apprentice in the likes of Gauguin, Monet, Manet, Degas, Renoir Cezanne, Delacroix and others to capture scenes of the Parisian country side that existed long age. The artist and his works remain indispensible to the existing societies. This form of art venture is not new to Nigeria where schools and workshops of apprenticeship exist. In Nigeria, the existing heritage and traditions if not for the artists will not be translated into art by the artists particularly painters like Dale, Oshinowo, Oguntokun, Emokpae, El-Dragg and others. The existence of workshops and schools of learning art have trained more artists to keep the aesthetical values of art. The society would be no doubt an unpleasant community without a touch of the arts. The artists who on daily bases create by painting, sculpting to make the environment a pleasurable place remain an important factor in the society.
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Zavala, Adriana. "Blackness Distilled, Sugar and Rum." Latin American and Latinx Visual Culture 1, no. 2 (April 2019): 8–32. http://dx.doi.org/10.1525/lavc.2019.120003.
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María Magdalena Campos-Pons (b. 1959, Matanzas, Cuba) is a Cuban artist with Yoruba (Nigerian), Chinese, and Spanish roots. She is also a black US-based artist. Known for performative and installation-based work as well as photography, paintings, and videos in which her body functions as resource, medium, and site, she has recently turned to more metaphorical representations of the body. History and memory, as well as the ritual (Lucumí or Santería) and material culture of her enslaved Nigerian and indentured Chinese ancestors brought to Cuba in the nineteenth century to work in the island’s sugar plantation system, have been key touchstones for her work. Since the 1990s she has frequently employed sugar as a material for critically exploring the complex workings of colonialism. Alchemy of the Soul, Elixir for the Spirits, commissioned by the Peabody Essex Museum in Salem, Massachusetts, in 2015, is the most recent of her sugar works. The installation explored, metaphorically, the distillation of New England rum from Cuban sugar. This paper examines it in relation to Campos-Pons’s persistent interests, such as forced removal, migration, trade networks, memory, Lucumí/Santería, mestizaje, transculturation, and racism. It also examines the installation’s site to argue that the work explores black being in distinct but interrelated contexts: Cuba and New England. A powerful conjunction of objects, site, and performance, the work directed attention to a New England exceptionalism that persists in framing slavery’s violence as elsewhere. RESUMEN María Magdalena Campos-Pons (n. 1959, Matanzas, Cuba) es una artista cubana de ascendencia yoruba (nigeriana), china y española. Es también una artist negra en los estados unidos. Estas y otras identidades trianguladas forman la base de sus treinta años de carrera artística. Conocida por su trabajo performativo y basado en la instalación, así como por la fotografía, la pintura y el video en que su cuerpo funciona como recurso, medio y sitio, se ha dedicado últimamente a representaciones más metafóricas del cuerpo. La historia y la memoria, así como el ritual (Lucumí o Santería) y la cultura material de sus antepasados nigerianos y chinos esclavizados, que fueron traídos a Cuba en el siglo XIX para trabajar en las plantaciones de azúcar de la isla, han sido elementos clave de su trabajo. Desde la década de 1990, ha empleado con frecuencia el azúcar como un material para explorar críticamente el complejo sistema del colonialismo. La instalación Alchemy of the Soul, Elixir for the Spirits, que fue encargada por el Peabody Essex Museum, en Salem, MA en 2015, es la más reciente de las obras azucareras de Campos-Pons. La instalación exploró metafóricamente la destilación del ron de Nueva Inglaterra a partir del azúcar cubano. Este artículo explora Alchemy of the Soul, Elixir for the Spirits en relación con los sitios discursivos de Campos-Pons (expulsión forzada, migración, redes de comercio, memoria, Lucumí/Santería, mestizaje (mezcla etno-racial), transculturación, racismo). También examina el sitio de la instalación para defender la tesis de que la obra explora el ser negro en contextos distintos pero interrelacionados: Cuba y Nueva Inglaterra. Como conjunto de objetos, sitio y performance, el proyecto también llamó la atención sobre la Nueva Inglaterra y el excepcionalismo del norte, que sigue pensando la violencia de la escalvitud como algo ajeno. RESUMO María Magdalena Campos-Pons (n. 1959, Matanzas, Cuba) é uma artista cubana com raízes iorubás (nigerianas), chinesas e espanholas. Ela também é uma artista norte-americana negra. Essas e outras identidades trianguladas estão no centro de sua prática artística há 30 anos. Conhecida pela utilização de performance e instalação, assim como fotografia, pintura e vídeo, nos quais seu corpo funciona como recurso, meio e local, ela voltou-se recentemente para representações mais metafóricas do corpo. História e memória – bem como o ritual (Lucumí ou Santería) e a cultura material de seus antepassados escravos nigerianos e escravos trazidos para Cuba no século 19 para trabalhar no sistema de plantação de cana da ilha – foram fundamentais para seu trabalho. Desde a década de 1990, ela frequentemente emprega o açúcar como um material para explorar criticamente o complexo funcionamento do colonialismo. A instalação de Campos-Pons, Alchemy of the Soul, Elixir for the Spirits, comissionada pelo Peabody Essex Museum, em Salem, Massachusetts, em 2015, é a mais recente das suas obras de açúcar. A instalação explorou, metaforicamente, a destilação do rum da Nova Inglaterra a partir do açúcar cubano. Este artigo explora Alchemy of the Soul, Elixir for the Spirits em relação aos sítios discursivos de Campos-Pons – remoção forçada, migração, redes de comércio, memória, Lucumí/Santería, mestizaje (mistura étnico-racial), transculturação, racismo. Ele também examina o local da instalação para argumentar que o trabalho explora o ser negro em contextos distintos, mas inter-relacionados: Cuba e Nova Inglaterra. Como uma conjunção de objetos, local e performance, dirigiu atenção, também, para uma Nova Inglaterra ou para o excepcionalismo do norte que persiste em enquadrar a violência da escravidão como situada em outros lugares.
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Odewumi, Michael Olubunmi, and Ivan Emeka Okonkwo. "Effect of Painting Series Package on the Performances of Junior Secondary Cultural and Creative Arts in Ogbomoso Nigeria." UJAH: Unizik Journal of Arts and Humanities 17, no. 3 (September 29, 2017): 324. http://dx.doi.org/10.4314/ujah.v17i3.15.
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Echesony, Gibson. "Perception of Gender Roles in Modern Art Exhibitions in Nigeria." American Journal of Arts, Social and Humanity Studies 4, no. 1 (May 30, 2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.
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Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasingly become a platform for challenging and redefining traditional gender roles. Contemporary artists frequently address themes of gender identity and societal expectations, pushing boundaries and provoking thought. This shift reflects broader cultural movements toward gender equality and fluidity. Exhibitions now often feature works that explore the complexities of gender through various mediums, including painting, sculpture, and digital art. Curators are more consciously inclusive, aiming to represent diverse voices and perspectives. This evolving landscape not only highlights gender disparities but also celebrates non-binary and transgender experiences, fostering a more inclusive and reflective art world. These exhibitions serve as a critical dialogue on the evolving perceptions of gender roles, encouraging audiences to question and rethink preconceived notions about gender in contemporary society. Implications to Theory, Practice and Policy: Feminist theory, social constructionism and postmodernism may be used to anchor future studies on assessing the perception of gender roles in modern art exhibitions in Nigeria. Encourage art institutions to adopt diverse curatorial practices that prioritize equitable representation of artists across genders and identities. Develop and implement institutional policies that prioritize gender diversity, equity, and inclusivity in art exhibitions.
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Emmanuel Tonbra Egoro, Emmanuel Sunday Oni, and Jonathan Ebipade Lawrence. "Occupational effect of spray painting fumes on some biochemical parameters in automobile spray painters in Yenagoa Bayelsa State, Nigeria." World Journal of Advanced Research and Reviews 9, no. 2 (February 28, 2021): 038–44. http://dx.doi.org/10.30574/wjarr.2021.9.2.0033.
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Automobile spray painters are often prone to chemical toxicity due to their routine work. This study was aimed at the occupational effect of spray painting fumes on some biochemical parameters in automobile spray painters. Five milliliters of blood specimen were collected into lithium heparin anti-coagulated bottles from twenty five automobile spray painters with ≤ 10 years working experience (experimental group one), ≥ 11 years working experience (experimental group two) and non-automobile spray painters which were monitored as control group respectively. After this, plasma alanine aminotransferase, aspartate aminotransferase, C-reactive protein, urea and creatinine were measured quantitatively using a spectrophotometer. The mean values of all the measured biochemical parameters showed no statistically significant differences (p>0.05) in the automobile spray painters with ≤ 10 years working experience as compared with that of the control group with the exception of plasma C-reactive protein, while those with ≥ 11 years working experience showed statistically significant differences (p<0.05) in plasma alanine aminotransferase, aspartate aminotransferase and C-reactive protein however, the plasma urea and creatinine showed no statistically significant differences (p>0.05). In conclusion, the concentration of plasma alanine aminotransferase, aspartate aminotransferase and C-reactive protein may be altered in automobile spray painters with ≥ 11 years working experience, thus these biochemical parameters should be monitored regularly in spray painters within this category of working experience
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Subotic, Jelena. "Scholars and the Politics of International Art Restitution." Contemporary European History 32, no. 1 (January 23, 2023): 33–37. http://dx.doi.org/10.1017/s0960777322000613.
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Almost every week brings news of another major European museum agreeing to return looted art. Since the 2000s we have grown somewhat accustomed to the headlines describing a ceremonial return to its original owners of a painting looted in the Holocaust, a process that took decades to develop and was initially met with considerable resistance in the art world and in the countries where this art was displayed.1 In the past few years, however, building in part on the perceived success of Holocaust art restitution but also on the increased visibility and impact of national and global social movements demanding racial justice and institutional decolonisation, major international museums have come under ever stronger pressure to return art looted as part of colonial occupations. Perhaps the most organised of the current campaigns is the campaign to return the so-called ‘Benin Bronzes’ – a vast collection of various artifacts looted from the Kingdom of Benin (in today's Nigeria) and dispersed across major international museums, most prominently the British Museum in London, the Ethnological Museum in Berlin, and the Musée du quai Branly in Paris, among others. Since 2020, a number of museums have pledged to return their holdings of Benin Bronzes and restitute them to Nigeria, where a major new museum is being built to display them in Benin City. All of this activity has also reenergised perhaps the most famous case for restitution – the movement to return the Parthenon ‘Elgin’ marbles from the British Museum to the Acropolis in Athens.
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Adeyi, Adebola A., and Babafemi A. Babalola. "Lead and Cadmium Levels in Residential Soils of Lagos and Ibadan, Nigeria." Journal of Health and Pollution 7, no. 13 (March 1, 2017): 42–55. http://dx.doi.org/10.5696/2156-9614-7-13.42.
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Background. Lead and cadmium are components of paints sold in Nigeria. These heavy metals are associated with adverse neurological, cardiovascular and other human health effects. Objectives. This study assesses the levels of lead and cadmium in topsoil of residential areas in Lagos and Ibadan potentially resulting from painting of buildings. Methods. Samples were pre-treated prior to metal determination using atomic absorption spectrophotometry. Metal speciation was determined using modified Tessier sequential extraction. Soil characteristics were determined by standard methods. Soil contamination was assessed using contamination factor, geo-accumulation and pollution load indices. The United States Environmental Protection Agency integrated exposure uptake biokinetic (IEUBK) model was used to estimate and predict children's blood lead levels (BLL). Results. Lead and cadmium concentrations in residential areas in Lagos and Ibadan ranged from 1.56–419 mg/kg and not detected–2.8 mg/kg, respectively. Metal contamination factor and pollution load index were highest at the Lagos low income settlement. Results of IEUBK modelling showed that the Lagos low income settlement had the highest probability density for children between 1–7 years of age with an estimated BLL of >10 μg/dL. This population made up less than 0.01% of those within this age range. Conclusions. Lead and cadmium concentrations in soil around the residential buildings were higher than those in the control sample. Contamination factor and pollution load index showed significant contamination in average and low income settlements. These results suggested that there was accumulation of the metals in the soil, which can persist in the environment. This may pose serious health risks, especially to vulnerable groups such as children. Competing Interests. The authors declare no competing financial interests.
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Akinlabi, Olabisi C., Rotimi A. Dada, El-shama Q. A. Nwoko, and Iruka N. Okeke. "PCR diagnostics are insufficient for the detection of Diarrhoeagenic Escherichia coli in Ibadan, Nigeria." PLOS Global Public Health 3, no. 8 (August 7, 2023): e0001539. http://dx.doi.org/10.1371/journal.pgph.0001539.
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Understanding the contribution of different diarrhoeagenic Escherichia coli pathotypes to disease burden is critical to mapping risk and informing vaccine development. Targeting select virulence genes by PCR is the diagnostic approach of choice in high-burden, least-resourced African settings. We compared the performance of a commonly-used multiplex protocol to whole genome sequencing (WGS). PCR was applied to 3,815 E. coli isolates from 120 children with diarrhoea and 357 healthy controls. Three or more isolates per specimen were also Illumina-sequenced. Following quality assurance, ARIBA and Virulencefinder database were used to identify virulence targets. Root cause analysis of deviant PCR results was performed by examining target sensitivity using BLAST, Sanger sequencing false-positive amplicons, and identifying lineages prone to false-positivity using in-silico multilocus sequence typing and a Single Nucleotide Polymorphism phylogeny constructed using IQTree. The sensitivity and positive predictive value of PCR compared to WGS ranged from 0–77.8% while specificity ranged from 74.5–94.7% for different pathotypes. WGS identified more enteroaggregative E. coli (EAEC), fewer enterotoxigenic E. coli (ETEC) and none of the Shiga toxin-producing E. coli detected by PCR, painting a considerably different epidemiological picture. Use of the CVD432 target resulted in EAEC under-detection, and enteropathogenic E. coli eae primers mismatched more recently described intimin alleles common in our setting. False positive ETEC were over-represented among West Africa-predominant ST8746 complex strains. PCR precision varies with pathogen genome so primers optimized for use in one part of the world may have noticeably lower sensitivity and specificity in settings where different pathogen lineages predominate.
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Orji, O. J., C. E. Ijioma, N. C. Ekeleme, V. U. Uduma, I. O. Abali, I. E. Okeji, T. C. Olusakin, et al. "Evaluation of Respiratory Symptoms and Lung Function in Car Spray Painters in Ibadan, Nigeria." Journal of Advances in Medicine and Medical Research 35, no. 19 (August 3, 2023): 237–50. http://dx.doi.org/10.9734/jammr/2023/v35i195156.
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Aim: This study investigated the correlation between respiratory symptoms and ventilatory function among car spray painters.
Methodology: The study was a cross-sectional analytical study. The study population comprised car spray painters from various automobile workshops in Ibadan and control subjects. The control group was comprised of individuals not exposed to spray paint or other respiratory hazards in their workplaces. The sample size was determined using Fisher’s formula giving a total sample size of 500 participants, 250 car spray painters, and 250 control subjects. The car spray painters were selected using a multistage sampling technique. Data were collected using a structured, interviewer-administered questionnaire designed in English and translated to Yoruba (the local language) when necessary. Forced Vital Capacity (FVC), Forced Expiratory Volume in 1 second (FEV1), Peak Expiratory Flow Rate (PEFR) and Diffusing Capacity of the Lungs for Carbon Monoxide (DLCO) were determined using standard methods. Data were analyzed using SPSS.
Results: The study highlighted a significant difference in educational levels between both groups. Additionally, most car spray painters (91.2%) reported the use of personal protective equipment, with safety goggles being the most common type used. A high percentage of the painters worked in open spaces (61.2%) and had access to ventilation facilities (94.8%). The health and lifestyle assessment revealed a significant disparity in smoking and alcohol consumption habits, with higher prevalence among car spray painters. Results showed that FVC, FEV1, FEV1:FVC ratio, PEFR, and DLCO, with the car spray painters presenting lower values except for the FEV1:FVC ratio and DLCO, which were higher. The car spray painters also showed a higher prevalence of obstructive (35.2%) and restrictive (23.2%) ventilatory patterns compared to the control group.
Conclusion: The findings indicate a strong association between car spray painting and respiratory symptoms, a decrease in certain ventilatory functions, and a higher prevalence of obstructive and restrictive patterns. This underscores the importance of occupational health and safety interventions, including education and improved use of personal protective equipment, to mitigate the adverse effects of this profession on respiratory health.
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TORPEV, Terver F., Nwankwo J. EZENKIRI, and Enock GANA. "Assessment of Teachers' Knowledge and Use of Mastery Learning Strategy in the Implementation of Basic School Creative Arts Curriculum in Katsina State, Nigeria." Kampala International University Journal of Education Two, One (April 30, 2022): 54–60. http://dx.doi.org/10.59568/kjed-2022-2-1-007.
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Culture is the pride of members of every society as the cultural elements of any society portray their needs, interest, aspirations and dilemmas. It is in this context that arts and design plays a significant role in creating and preserving some of the societal cultural heritage through painting, carving, molding and building. It is therefore disheartening to note that most of the roles which art as a subject was included in school curriculum to perform have been negated as a result of the inability of the teachers to effectively use strategies like mastery learning that could motivate students’ interest in the subject. The study, therefore, assessed teachers’ use of mastery learning strategy in implementation of basic school art education curriculum for reinforcement of cultural sustainability in Nigeria. The study adopted descriptive survey research design. The population comprised of all the basic school teachers in Katsina state, Nigeria. Target population was creative art teachers in basic schools. The sample was 50 creative art teachers purposely selected from five public basic schools in Dutsinma Local Government Area (LGA), Katsina State. Questionnaire tagged: ‘Assessment of Mastery Learning Strategy Questionnaire’ (AMLS) was constructed, validated and trial tested on teachers in Kurfi LGA which yielded a reliability coefficient at 0.75. In an attempt to answer the questions raised, mean, percentage and standard deviation were employed to answer the research questions while chi-square test statistics were made use of in testing the formulated hypotheses at 0.05 level of significance. The finding of the study indicated that most teachers were uninformed of the mastery learning strategy. Based on the finding, the study recommended that workshops on mastery learning should be organized to update teachers' knowledge of mastery learning and other motivating learning strategies. The study concluded that similar studies should be carried out in related subjects to ascertain the effectiveness of learning strategies used in imparting knowledge to learners.
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Ukwandu, Damien, and Benjamin Obeghare Izu. "The Ugie Festival Ceremonies as a Demonstration of Ancient Benin Culture in Nigeria." Archiv orientální 84, no. 2 (September 18, 2016): 249–67. http://dx.doi.org/10.47979/aror.j.84.2.249-267.
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Through the ages, man has recorded his personal life experiences and sojourns in drawings, paintings, artefacts, sculptures, weaving, drama, music, songs, festivals and other forms of art. These expressions form part and parcel of the cultural heritage of mankind, and in many ways help to articulate human history, norms, customs and way of life. To the Edo society, festivals constitute an essential appendage to their accomplishments. These festivals are usually celebrated with music and dance, which provide entertainment throughout the period of the celebrations. Apart from their entertainment value, festivals provide an opportunity for the memories of our forebears to re-assert themselves in the consciousness of the people, with the hope of leaving the world a better place. Festivals also form a part of the heritage of humankind and have traditionally been passed on for posterity. These festivals constantly remind people of their past which is usually compared with the present so as to ascertain whether communities are progressing or not and to document other dynamic changes. Furthermore, festivals enable celebrating communities to devise programmes to improve the areas in their culture where these have been neglected.
The main focus of this study is on the music and associated ceremonies enacted during the royal Ugie (festival) of the Omo N’ Oba N’ Edo Uku Akpolokpolo, Oba of the Benin kingdom. There are cycles of Ugie rituals held periodically within the confines of the Benin royal palace. Some of these ceremonies are of a private nature, while others are public. During these Ugie ceremonies, the palace is always the centre of ritual activities aimed at the well-being and prosperity of the Omo N’ Oba and the Edo people.
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JAMES, Sunday, and Agbeyan Simon Festus. "Use and Influence of Technological Gadgets on Students’ Performance in Art Production." International Journal of Research and Innovation in Social Science VIII, no. III (2024): 1295–305. http://dx.doi.org/10.47772/ijriss.2024.803095.
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Despite the opportunities afforded art teachers in the use of technology today, many of them avoid these opportunities; either because they are not interested or they prefer the traditional way of teaching or they lack the know-how to use them. A cursory look at our Art institutions and Departments in Nigeria today reveals that there is need to overhaul the training methods and facilities in the system to meet global standard and technology-driven society of our time. This paper discusses the place of technology in Art pedagogy; looking at studio practice and theory, its influence on art production and sustainability in the future. The purpose of the study is to evaluate the quality of computer gadget-aided paintings and those made from real objects among selected students in tertiary institutions. Methodology adopted includes literary review, survey and practical experiments. The paper points to the fact that the role of technology cannot be over-emphasized in art teaching and learning, exhibition and sale, recording, preservation, as well as documentation and archiving of art experiences. It is recommended that teachers of Art must be abreast with modern techniques in teaching in a dynamic and technology-driven world of today.
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Alu, Nkem Fortyunes, Nnaemeka Chibuike Egwuibe, Samuel Ogba Echem, Jovita Charles Ogu, and Chukwunonso Okechukwu Uzoagba. "Effects of utilizing traditional Igbo Art and cultural activities as informal education curricula for decelerating sarcopenia and dynapenia among old people in Eastern Nigeria." IKENGA International Journal of Institute of African Studies 24, no. 1 (March 30, 2023): 1–24. http://dx.doi.org/10.53836/ijia/2023/24/1/003.
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Sarcopenia is the age-related loss of flesh or muscle mass in the body while dynapenia is the loss of muscle strength. With Igbo art and cultural activities as a baseline for interventions, the specific objectives of this study were to (i) find out the degree to which Traditional Igbo Art and Cultural Activities can help to improve muscle strength among the participants, (ii) ascertain the types of Traditional Igbo Art and Cultural Activities that old people prefer, and (iii) assess the level to which Traditional Igbo Art and Cultural Activities can improve old people’s cognitive well-being. The 2-week quasi- experiment was conducted in Arochukwu, Oboro, and Ohafia in Abia State, Umuchu in Anambra State, and Ehime-Mbano in Imo State. From the initial 100 (N=100), (n=50) retirees were selected for the exercise. The study tool was the Traditional Igbo Art and Cultural Activities Treatment Syllabus (TIACA-TS), with the subjects: (i) Basketry/rope weaving, (ii) Mud wall plastering/design, (iii) Hairstyling/haircutting, (d) Makeup/body adornment, (iv) Thatch weaving, (v) Clay moulding, (vi) Cloth weaving/embroidery, and (vii) Wood carving/joinery. The secondary instrument was the Traditional Igbo Art and Cultural Activities Response Score Card (TIACA-RSC). Scores between 7-10 were rated High, 4-6, average, and 1-3, low. The cumulative scores per subject were converted to percentage equivalents and discussed. The findings showed that art forms that encouraged weaving, embroidery, and painting were preferred by the old people. While dynapenia was significantly treated, sarcopenia was minimally handled.
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Obasi, Nelson Torti, Chukwuemeka Vincent Okpara, Felicia Tochukwu Okpara, Vershima Joseph Itiav, and Celestine Verlumun Gever. "Effect of theatre for development as a communication intervention strategy on behavioural intentions towards painting, weaving and fashion and design among victims of conflict in Nigeria." African Security Review 30, no. 2 (February 17, 2021): 139–51. http://dx.doi.org/10.1080/10246029.2020.1857805.
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von Hesse, Hermann. "Chika Okeke-Agulu. Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria. Durham: Duke University Press, 2015. xix + 357 pp. Illustrations/Paintings. Notes. Bibliography. Index. $29.46. Paper. ISBN: 978-0822357469." African Studies Review 60, no. 2 (July 13, 2017): 264–66. http://dx.doi.org/10.1017/asr.2017.67.
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Graves, P. Nelson. "PHCN, Please Help Clean Nigeria. “Ise Ni Ounise, Mura Si Ise Ore Mi” - Work Is an Antidote for Poverty: An Exhibition of Paintings by Master Water Colourist/ Artist and Social Critic, Ijalobomo." African Research Review 10, no. 2 (May 10, 2016): 325. http://dx.doi.org/10.4314/afrrev.v10i2.22.
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Diala, Isidore Okeawolam. "Religion is ever present in the theatres of violence: Elnathan John chats with Isidore Diala." Journal of Commonwealth Literature, August 17, 2020, 002198942094455. http://dx.doi.org/10.1177/0021989420944559.
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The Nigerian writer Elnathan John (born 1982) has become a preeminent commentator on the complex human drama at the core of the experience of the Boko Haram insurgency in northern Nigeria. John is renowned for the caustic humour characteristic of his satirical treatment of virtually every facet of Nigerian life, as his Be(com)ing Nigerian: A Guide (2019) magnificently illustrates. In the corpus of his fictional accounts of Boko Haram insurgency (as epitomized in his debut novel Born on a Tuesday [2015]) he has been preoccupied with the necessity for a nuanced understanding of the Boko Haram phenomenon and underscoring a usually neglected or at least deemphasized human dimension at the heart of that experience. In this interview, John complicates a simplistic account of ostensible doctrinal violence by painting a telling backdrop of a dysfunctional postcolonial Nigerian state that blights the wellspring of responsible creative social life, and more crucially impoverishes and exploits religion and politics, ideally meant to foster communal rather than egotistical aspirations, by advancing other interpretations of these social constructs that gratify human greed and the will to power.
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"An assessment of multi-skilling in addressing skills shortage in Nigerian construction firms." African Journal of Built Environment Research 3, no. 1 (2019): 1–13. http://dx.doi.org/10.33796/ajober.3.1.01.
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The construction industry in Nigeria is largely driven by activities of skilled labour or craftsmen as most of the construction activities are carried out manually. However, the Nigerian building construction firms are challenged by shortage of skilled manpower. This study assessed multi-skilling practice in building construction with a view to bridge skills shortage in the building construction firms. This study identified specific skills shortage and responsible factors, assessed the practice of multi-skilling, identified the impact of multi-skilling, identified impediments and ways of enhancing multiskilling in the building construction firms. The study utilized a population of 170 building construction firms registered in Abuja with updated remittance to the Industrial Training Fund (ITF). Simple random sampling was used in selecting 140 sampled firms. Two sets of questionnaires were administered to the most senior professional and craftsman in each of the 140 firms sampled. Data obtained was analysed with statistical tools: Means, Percentages, and standard deviation and results were presented in charts and tables. The major findings in this study revealed that respondents (professionals and craftsmen) admitted shortage of Masonry, Plumbing, and Painting skills. “Poor Apprenticeship Schemes” was unanimously agreed by respondents to be the most important factor responsible for skills shortage with mean of 3.94 and 3.74 as ranked by professionals and craftsmen respectively. The study also revealed that multi-skilling is only slightly (48%) practiced among professionals while some of the craftsmen possess and practice skills other than their traditional area of competence. The study showed that professionals and craftsmen admitted that “Work Force Saving” (Mean = 3.83 and Mean = 4.13 respectively) is the most important impact of multi-skilling. Findings on impediments to multi-skilling revealed that “high cost of training” (Mean = 3.78) and “complexity of management” (Mean = 3.51) are the major impediments. “Training and Retraining of workers” (Mean = 4.14) and management's decision to multi-skill” (Mean = 3.90) were ranked highest as ways of enhancing the practice of multi-skilling. The research therefore concludes that “Workforce Saving” attribute of the concept of multi-skilling is an antidote to skills shortage in the building construction industry in Nigeria. Therefore, study recommends that construction firms should adopt multiskilling with sustainable implementation strategies in order to bridge skills shortage.
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Etowa, Josephine. "Painting the Landscape: Is the Invisibility of Nigerian Nurses in Research and Policy Development Arenas Ailing Healthcare in the Country?" Journal of Pregnancy and Child Health 01, no. 03 (2014). http://dx.doi.org/10.4172/2376-127x.1000e105.
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Okwuosa, Tobenna. "“From Historical Facts to Poetic Truths”: The Nigerian Civil War and Other Subjects: An Exploration of Texts and Images in Painting." Ufahamu: A Journal of African Studies 43, no. 1 (January 31, 2022). http://dx.doi.org/10.5070/f743156325.
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Ugochukwu, Stanley Chukwudi, Olusola, Ogunsina, Obinna Enem Udoka, and Raymond Chike Enenmoh. "Cost Estimation of Painting Works in Nigeria Using Algorithmic Equations." Archives of Current Research International, March 3, 2020, 29–39. http://dx.doi.org/10.9734/acri/2020/v20i130170.
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Inaccurate cost estimation of painting works often leaves a client dissatisfied and mars the professional expertise of the quantity surveyor. This is because either excess quantity of paint is left behind after completion of the work or the paints purchased and budget allotted for the project is unable to finish the work. To this end, this study developed algorithmic equations for estimating the cost (material and labour) of painting works using the common types of paints in Anambra and Enugu state of south-east Nigeria and also validated them using current market rates. This was achieved via identifying the types and peculiar features of the common paints used in the study area, determination of the average quantity of paint needed per square meter (to assess the material constant for the paints identified) and assessing the labour constant for the paints identified. Dulux, Homepride, Intercolour, Sharon (Vineyard) and Fine coat were among the common paint brands identified through market survey, interviews with the paint manufacturers, suppliers, painters and construction professionals and physical observation. Dulux was adjudged the most durable. Though quite expensive, it allows for creativity and flexibility and has an aesthetically pleasing outlook. The materials and labour constants were generated by physical observation, via a work study. The algorithmic equations developed are as follows: Up = Mc+ Lc; Mc = YAm x Cp; Lc = Y x Lp (thus: Up = YAm x Cp + YLp), where: Up = painting cost, Mc = Material cost, Lc = Labour cost, Y = Area of building to be painted, Am = Average quantity of the material per square meter (material constant), Cp = Cost of material per meter square, Lp = Cost of labour per square meter (labour constant). Validation of the model using current market rates of the last quarter of 2019 in the study area indicates that painting a wall of total area= 115.29 m2 using Sharon texcote paint for instance will cost N64,500. These equations not only have time saving potentials, they are also reliable when used for costing painting works involving the brand of paints surveyed. However, their efficacy relies heavily on accurate measurement of area of walls to be painted. These models are recommended for use by practicing quantity surveyors to generate feasibility cost estimates for painting works and shorten pre-contract time for both private and public clients.
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Osuagwu, Victoria N. "The Place of Traditional Artists in the Preservation of Nigerian Art." Journal of Tourism and Heritage Studies, December 15, 2018, 75–88. http://dx.doi.org/10.33281/jths20129.2017.2.7.
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Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.
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Abodunrin, Johnson Adelani. "Therapeutic Value of Painting and Human Psychology in Nigeria." Journal of Psychology & Psychotherapy 08, no. 05 (2018). http://dx.doi.org/10.4172/2161-0487.1000350.
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Okpara, Chukwuemeka Vincent, U. Anibueze Anselm, Ugwu Alphonsus, Ugwuanyi John Chidi, and Verlumun Celestine Gever. "Modelling the Effectiveness of a Social Media-based Counseling Intervention on Interest, Entrepreneurial Skills, and Behavioural Intention Towards Painting Among Youth Without Paid Jobs in Nigeria." Vision: The Journal of Business Perspective, April 8, 2021, 097226292110023. http://dx.doi.org/10.1177/09722629211002314.
Full textAbstract:
In this study, we made use of the human capital theory (HCT) and the theory of planned behaviour (TPB) to develop a model that explains the effectiveness of a social media–based intervention on interest, entrepreneurial skills and behavioural intention towards painting among young graduates without paid employment in Nigeria. The study included an experiment involving 470 (235 control-group and 235 treatment-group) participants who were not on the payroll of any organization at the time of the study. The questionnaire served as the instrument for data collection, while the results were analysed using descriptive and inferential statistics. The result of the study was effective, because respondents who were exposed to the intervention reported greater interest in painting than those who were not. Also, participants in the treatment group reported greater entrepreneurial skills and behavioural intention towards painting than their counterparts in the control group. We explored the implications of these results on theory and practice and made recommendations for further studies.
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Okwuosa, Tobenna. "Archiving Nigerian Contemporary Existential Realities: Ben Osaghae and His Dialectical Paintings." Academic Journal of Interdisciplinary Studies, November 1, 2013. http://dx.doi.org/10.5901/ajis.2013.v2n3p181.
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James, Sule Ameh. "Intersecting identities: interrogating women in cultural dress forms in contemporary Nigerian paintings." African Identities, March 16, 2021, 1–20. http://dx.doi.org/10.1080/14725843.2021.1899895.
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"Kolade Oshinowo and his paintings in Nigerian textile art: reflections of Yoruba culture." Creativity 6, no. 2 (2023): 105. http://dx.doi.org/10.22381/c6220234.
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